Description

This beautiful painting, depicting Shiva with Parvati in his
gentle embrace, is reminiscent of medieval Pahari art style of
Kangra, although in deviation from usual background of Pahari
miniatures covering most part of the canvas with hilly terrain,
trees and flowering shrubs, the artist has preferred here a
simpler background consisting of pinkish mauve tint, obviously to
draw the viewing eye strictly to his theme, that is, the Divine
lovers engaged in the sport of love. The artist has displayed
exceptional ingenuity in emotionally charging the faces and
figures of Lord Shiva and Parvati, which seems to be the main
thrust of artist's theme. The medieval artists of Kangra style
attained stylistic accomplishment in their total rendering, the
painted figures, the act they are engaged in and the background
with its all vividness, but the artist here has created his
impact only by emotionality of his figures, a far greater
artistic challenge, which only master artists accomplished.

The oval shaped rock-shelter, which houses Lord Shiva and
Parvati, has been laid like a lotus leaf atop a hill consisting
of hood-like rising boulders. A 'malini' tree lying across,
besides the usual grass-beads rising from the roots of rocks,
interweaves in between and bind the loose rocks into a united
whole. Lying horizontally the 'malini' tree seems to support on
its flower-bed the rock sheltering the Divine lovers on it. The
two fur-trees on right and left align the terrain horizontally,
whereas a couple of flowering trees, atop the hill, Shiva's
trident with flag attached to it and Ganga flowing from Lord
Shiva's hair interrupt and balance with vertical thrust the
vacant space above and around the figures of Lord Shiva and
Parvati. The coy modest peacock turns its beak away bashfully. In
its demeanour there reflects the romantic temperament of the
occasion and the pinkish mauve void depicts the serenity which
defines the creative sport of the Primordial couple.

Lord Shiva, with amour in his eyes, is seen tenderly drawing
Parvati to his bosom. Parvati, with absolute submission, sinks
into Lord Shiva's person. She clasps him around with her both
arms. Her palms dyed in heena lie on Shiva's bosom like a couple
of lotuses and balance the vast expanse of his breast. The
figures of both, Shiva and Parvati have a marble look and
transparency. In great excitement of being with her lord,
Parvati's breasts burst open and in her eyes emerge 'kama'.
Artist's exceptional skill is seen in his use of colours. In
rendering Shiva's figure, from his hair to loin cloth made of
tiger skin, he has used only brown, although in its multiple
shades and tones and in drawing the figure of Parvati his thrust
is primarily on various tones and shades of red. This colour
thrust is not without a meaning. Shiva's brown symbolizes his
'yogi' character and Parvati's red love, life-vigour and
creation, which conjointly is the gist of Shaiva thought, wherein
love is the sport of the 'Parama-purusha', creation its result
and the 'yoga' the means of both.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

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